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Hillman PeriodicalsHillman Periodicals was an American magazine and comic book publishing company founded in 1938 by Alex L. Hillman, a former New York City book publisher. It is best known for its true confession and true crime magazines; for the long-running general-interest magazine Pageant; and for comic books including Air Fighters Comics and its successor Airboy Comics, which launched the popular characters Airboy and The Heap.FoundingIn the late 1930s and early 1940s, Hillman competed with Bernarr Macfadden and Fawcett Publications by publishing comics, true confessions magazines (Real Story, Real Confessions, Real Romances) and crime magazines (Crime Detective, Real Detective, Crime Confessions).In 1948 Hillman began publishing paperback books. There were several series of abridged mystery and western novels published in the larger 'digest' size. The long running Hillman paperbacks first appeared in 1948 and lasted until 1961.Pageant and AirboyIn 1944, Hillman launched a digest-sized, general-interest, "slick" (glossy paper) magazine, Pageant, with an initial print run of 500,000 copies. To obtain the paper during World War II wartime rationing, Hillman ended his detective magazines and comics, which together brought in a $250,000 annual profit. He returned to comics in 1946, resuming some titles from the earlier series.Like most comic book publishers during the period fans and historians called the Golden Age of comic books, Hillman's titles included costumed superheroes. As trends in the comic book market changed, the focus shifted more to crime fiction/detective stories (Crime Detective Comics, Real Clue Crime Stories), and Westerns (Dead-Eye Western Comics and Western Fighters). Hillman's most notable character, continuing in new stories by another publisher, Eclipse Comics, in the 1980s, was the aviator-adventurer Airboy in Air Fighters Comics and its successor, Airboy Comics.Later yearsHillman ceased publishing comic books in 1953, while continuing to launch such new magazines as Homeland and People Today, while also distributing Freeman, a journal of right-wing opinion. Amid a 1953 battle for control of directors and editors, Hillman announced his resignation as the Freeman treasurer because "it has been almost impossible for the past six months to run the magazine".The following year, Hillman said he was thinking about launching a "conservative Republican" morning newspaper in Washington, D.C., but nothing came of it.Hillman sold Pageant to Bernarr Macfadden Macfadden in April 1961, and the magazine continued until 1977.Alex L. HillmanPublisher Alex L. Hillman was a noted art collector who initially developed an interest in the field when he was a book publisher, commissioning artists to illustrate new editions of classic literature. He was married to Rita Hillman. He began his collection with such American painters as Raphael Soyer and Preston Dickenson, and expanded it to included impressionist and other painters. He eventually established the Alex Hillman Family Foundation, a private foundation in Manhattan, to oversee the collection. Gary A. Reynolds, curator of the Alex Hillman Family Foundation, died July 23, 1990 at the age of 40. (SOURCE: Wikipedia)
Uncle Charlie lived in a studio apartment in Wilmington, DE for many years. I believe it is now headquarters for some sort of an artists' group. Perhaps the address is 1305 Franklin Street. About 15 years ago I sent the artists' group a post card (or letter) from Howard Pyle indicating agreement to rent the place to Uncle Charlie.Uncle Charlie died in October 1961 and a service was held at a local Presbyterian Church. He was cremated and his ashes were scattered by several ladies in the artists' organization.My two sisters and I were his heirs. My mother, Marjorie MacLellan Dawson, was executor of his will.He was a very, very funny man - very proper and irreverent at the same time.
You can see some c.1911 photos of MacLellan taken in Howard Pyle’s studio in the Olive Rush Papers at the Archives of American Art.
He appears in photos 17 (on the left), 19 (on the right), and 20 (on the left).Thank you Ian!
Charles Archibald MacLellan, known as “Mac”, was born in Canada in 1885. He attended Chicago’s Art Institute School for about two and a half years before accepting a position at an engraving house.
While in Chicago, MacLellan illustrated several magazine covers, designed stained glass windows, created advertisement posters, and did newspaper sketches for the Chicago Examiner.
In 1909, he relocated to Wilmington, Delaware, where her studied with legendary illustrator Howard Pyle. At that time, MacLellan began painting calendars and established a highly successful illustration career that lasted through the first half of the twentieth century.
MacLellan is best known for his cover paintings for The Saturday Evening Post. Between 1913 and 1936, he painted forty-four covers, making him one of the most prolific Post cover illustrators of his day. MacLellan specialized in painting women, and nearly all of his cover illustrations feature a woman as the central, and often only, subject.
By the late 1930s he turned to portrait painting and also spent more time acquiring antique furniture on behalf of the Winterthur Museum in Delaware.
MacLellan taught at the Studio, in Howard Pyle’s old studio in Wilmington, Delaware, from 1943 until his death in 1961.
Johnny Gruelle was an American artist, political cartoonist, and writer of children's books. He is best known as the creator of Raggedy Ann and Raggedy Andy. He also provided colour illustrations for a 1914 edition of Grimm's Fairy Tales.
He was born John Barton Gruelle in Arcola, Illinois. His father, Richard Gruelle was a noted artist affiliated with Hoosier Group of Indiana artists. His first well known cartooning work was Mr. Twee Deedle which Gruelle created after he beat out 1,500 other entrants in a cartooning contest sponsored in 1911 by The New York Herald. Mr. Twee Deedle was in print from 1911 to 1914.
One day, Johnny gave his daughter Marcella a dusty, faceless rag doll found in the attic. Johnny drew a face on the doll and named her Raggedy Ann. Marcella played with the doll so much, Raggedy Ann became like a sister to her. Gruelle figured other children would like the doll as much too. Gruelle's Raggedy Ann doll U.S. Patent D47,789 was dated September 7, 1915. In 1918, the PF Volland Company published Raggedy Ann Stories. Gruelle then created a following series of popular Raggedy Ann books and dolls.
Marcella, after being vaccinated at her school for smallpox, was given an unidentified second shot without the consent of either parent. She soon contracted diphtheria and died, aged 13. After this bitter blow, family friends described him as "possessed, with a heavy countenance, and ... with the only thing he would bear to have near him as a reminder of Marcella a rag doll."Gruelle lived in the Silvermine section of New Canaan, Connecticut, where the dolls were first mass produced, and later moved his home and company to neighboring Wilton, Connecticut. Gruelle spent a year in Ashland, Oregon from 1923-1924. He died in Miami Beach, Florida on January 8, 1938, of a sudden heart attack. (Source: Wikipedia)
"A mother is a mother still--The holiest thing alive."--Coolridge
Toastmistress------------------------- Betty Jo ScheaferG-rateful Hearts----------------------Mrs. PotadleI-nspirational Melody---------------Jean, Lucille, JudithR-estful Moments--------------------Alice PeckL-oving memories-------------------Rosamond HancockS-olo-----------------------------------Miss JohnsonSong - Nebraska Girl Reserve
Officially the Girl Reserves of the Young Women's Christian Association (YWCA) began in 1918. However, like many clubs - it evolved from many informal girl gatherings under the YWCA program and from the Patriotic League of the YWCA. The Girl Reserves sought to help girls 12-18 develop a well-balanced personality, grow physically and take on social responsibility.By 1921 there was a Girl Reserves handbook to outlined the program. It was a uniformed group, although by the 1930 there was a great deal of discussion on the merits of uniforms. (SOURCE: Vintage Kid Stuff)
FOREWORDTHE Young Women's Christian Association is a fellow-ship of women and girls. The value of the fellowshiplies in whatever it may contribute to self-expression, dis-cipline and growth of the whole life of each of its members andin the effectiveness of that group as it functions in the life ofa community. It offers, therefore, to advisers of g'irls a placeof leadership which has the greatest value.There is a standard toward which the development of all themembership both girls and advisers is set. The standardis expressed in the name "The Christian" and makes the teach-ings of Jesus the informing and directing principles of any ofthe Association's programs. His example of growth in wis-dom and stature and in favor with God and man is consciouslyfollowed. Any girl may enter this fellowship; there is noth-ing selective about its membership. The possibility of ful-filling this standard of achieving -this growth, is in directproportion to the gift of self of those advisers who have ac-cepted places of leadership in the " Association movement.The Girl Reserves are a cross section of the whole fellow-ship. They are a movement within the movement of the whole.All the resources of the organization, general and specialized,lie back of the Girl Reserves, and are available for their de-velopment. The Girl Reserves are to the Young Women'sChristian Association, of which they are a part, the freshstream which feeds into the main current of the movement atits source or along itsl course the very youth of its youth.They have its future in their keeping.MABEL CRATTV.Office of THE GENERAL SECRETARY,National Board, Young Womens Christian Associations,United States of America.June 1921. (SOURCE: Archive.org)
Parallax panoramagram having improved depth and sharpnessUnited States Patent 6850210Abstract: A parallax panoramagram has increased depth and sharpness when a sharpness filter is applied after interdigitation of multiple image portions. An optical path of wave train (204) (on-axis) and wave train (205) (off-axis) intersect a single lenticle (201). The lenticle has a focal length (208) and the on-axis (204) and off-axis (205) wave trains correspond to different stripes. These wave trains (204 and 205) comme to focus at points (206 and 207) respectively. The surface (202) has a cylindrical curvature, and bracket (203) denotes the width of the lenticle (201). Each eye of the observer sees its own perspective view when looking at a lenticular stereogram. (SOURCE: http://www.freepatentsonline.com/6850210.html)
"A LOOK FIRST: 3-D PHOTO," proclaimed the message on the cover. The Parallax Panoramagram "may mark the beginning of a new era in graphic-arts," said the press release. As it turned out, Look's first ran almost last in the magazine. On page 105, just short of the back cover, persevering readers found a stiff, postcard-size appendage, attached in the manner of a subscription renewal card. On the card was a black and white picture that showed a bust of Thomas Alva Edison surround ed by some half-dozen of his inventions. What made most readers stop and look twice was the picture's distinct illusion of depth.Look's stunt, the result of 13 years' research, constitutes the latest effort to translate the real world of three dimensions into the picture world of two. Artists have employed trompe I'oeil three-dimensional techniques for centuries. But true success for photographers awaited the invention of the stereopticon camera in the 19th century, which took two pictures of the same subject through lenses that were separated like a pair of human eyes. When the viewer saw each picture separately, through separate lenses, his brain automatically supplied the missing dimension of depth.The Look process is almost identical. A specially designed camera takes pictures through a transparent screen that is serrated to break up the image into hair-thin vertical slices. The camera is then moved slightly to the right or left, as other, sliced-up pictures are taken on the same negative.The process is laborious, costly and slow, and not yet adaptable to highspeed printing. Merely to pose the static picture in last week's Look took two full days of work with a one-ton, cubical camera as complicated as an electronic computer. Five additional weeks were required to engrave the photograph, print it some 7,000,000 times on a sheet-fed offset press and then pour on and properly shape the clear plastic film that covers the picture with what amounts to a collection of lenses. The plastic lenses are so arranged that the viewer's left eye sees one of the serrated pictures, the right eye sees the other (see diagram).Look and its partners in the enterprise, Eastman Kodak Co. and Harris-Intertype Corp., which built the equipment that adds the plastic lens coat, have high hopes of commercial success. Cowles Magazines & Broadcasting, Inc., Look's parent company, plans to establish a separate corporation, to be called Visual Panographics Inc., to sell its 3-D process to greeting-card manufacturers, display-art companies and anyone else willing to pay the price in money and time for an unspectacled illusion of depth. (SOURCE: TIME)
three-dimensional printing technique ( in printing (publishing): Three-dimensional printing (1960s) )...essentially an illustration bearing two views, superimposed, of the same image taken from slightly different angles, on a transparent mount striped with a multitude of imperceptible parallel strips (Xograph process). On account of these strips, each eye, looking at the print from a different angle, sees only one image. (SOURCE: ENCYCLOPÆDIA BRITANNICA)
UPDATE: From Debbie Thorne in 2013:"Lenticular techniques showed rapid progress in the 1960's as large corporations recognized its advertising potential. Mass production became a reality on February 15, 1964, when a Look Magazine issue featured the first ink-printed postcard sized "parallax panoramagram". The black and white still life of the bust of Thomas Edison surrounded by some of his more famous inventions required a 1000-pound camera, tracked in a programmed arc, to photograph. The manufacturing process involved printing the image using a 300 line offset press and a special technique for coating and lenticulating a thin layer of plastic on the image at high speed. The process, known as "Xograph" was developed at Eastman Kodak in Tennessee and was credited to Arthur Rothstein and Marvin Whatmore. Over 8 million copies were sold. Look Magazine followed with a color lenticular on April 7, 1964.With the growth in popularity of lenticular in the 1960's, several companies entered the market including Vari-Vue of New York, which was co-founded by Victor Anderson, who contributed greatly to the practical commercial success of the product. Vari-Vue, along with companies such as Crowle Communicatons, Hallmark, Toppan ("Top Stereo") and Dai-Nippon of Japan and later Optigraphics ("Optipan" and "Linearoptics") produced a wide variety of products over the next twenty years, including Cracker Jack premiums, Political buttons, 3D baseball cards, postcards, magazine and book covers and point-of-purchase displays.By the 1980's, as the novelty value of lenticular wore thin, the only significant manufacturer left in the US was Optigraphics who's success was largely the result of the continued expertise of Victor Anderson."
I found your site when trying to do something special with all my fathers negatives, black and white photos and slides that he has collected from his travels as a photographer for Look and Venture magazines. i was excited to see his 3 d photos on your site. Our family has albums of the 3 d pictures. I also watched my dad shoot many 3d pictures at the look magazine building on madison ave in nyc. Then the studio in Arlington, texas. He would create a shadow box for some pictures where he would cut out the models or items they were advertising. The camera was very large and it would move slowly to shoot a blurred image and then my father would design a plastic coating to give the photo the 3d effect. I have a very large mac tonight picture he did for Mc donalds hamburger in the late 60's or early 70' My fathers boss and a friend was Arthur Rothstein. They worked for look and venture until spring of 1973. Victor Anderson was one of the men at opticgraphics.
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